#questionable writing choices

[originalartblog]

Tiny skk adventures!

not like they're also cranky and tired and touch-starved

[kyooket]

"b-babe, is this really necessary?"

chosos face is all red as you tighten a baby pink ribbon around his aching cock, sealing it with a gentle kiss. you glimpse up at him. "'course it is, cho. i mean, look at how cute you are!" his cock twitches involuntarily at the praise. "w-well... i mean, if you say so..."

he's such a good boy.

[yourhighness6]

Me, screaming into the void: I DON'T HATE MAI I JUST FEEL LIKE SHE NEEDED MORE DEVELOPMENT OUTSIDE OF ZUKO AND HER ARC SHOULDN'T REVOLVE AROUND HER LOVE INTEREST

Also me, still screaming into the void: I DON'T HATE AANG I JUST QUESTION WHETHER HIS ROMANTIC INTEREST IN KATARA BRINGS OUT THE BEST SIDES OF HIM AND FEEL AS THOUGH HE AND HIS DEVELOPMENT IS NOT ABOVE NECESSARY CRITICISM

[bugsandboos]

reading everyone’s thoughts on the london special and marinette’s actions have given me a serious case of deja vu in relation to the s5 finale, here’s why

a very very VERY common reaction from the fandom i saw to the finale was “why are the writers letting gabriel get away with being a hero why isn’t he being held accountable horrible finale horrible writing i hate this show etc etc etc”

before i share my thoughts on this for like the thousandth time i just wanna mention i DID cry during the finale, partly because i was in shock and also because i HATED it. but now i genuinely believe it was one of if not the smartest thing the ml writers have ever conjured up and i just. fucking love it. (point is: i understand disliking it. that was me at some point, until i began to consider the implications of the “ending”)

similarly, a reaction i’ve seen to the london special (mainly from ml salters) is “why would the writers let marinette lie to the world when it’s so clearly morally wrong she’s such a horrible person she needs to be held accountable blah blah blah”

something both the s5 finale and the london special share is that THE ACTIONS THAT TAKE PLACE IN BOTH. ARE NOT MEANT. TO SIT WELL WITH THE AUDIENCE

NO writer on ml is trying to convince a fan that “gabriel was actually a hero because he made one selfless decision (that wasn’t even that selfless?????)”. NO writer on ml is trying to convince a fan that “marinette is completely right for hiding the truth about gabriel from not only adrien but also the whole world!!!!!! no one should ever find out!!!”

the entire point of the finale and special is to make the viewer uncomfortable, as we watch marinette sit with her questionable choices, watch adrien refer to his father as a hero and watch their class throw a party. none of this is supposed to make us feel at peace with the way this arc has concluded.

what people seem to be missing is that even if the s1-s5 arc has ended, the s6 arc is just beginning, CENTERED AROUND THE CHOICES THAT HAVE MADE US AS THE AUDIENCE FEEL SO UNCOMFORTABLE!! you’re completely ignoring the way the plot is set up if you think the writers are going to neglect gabriel’s storyline, because it is far from over.

i think it’s also important to mention that neither marinette nor adrien are at peace with what’s happened (even if that was implied during the s5 finale—the london special has provided us with this new information on their emotional statuses). marinette is clearly being eaten alive by guilt, seeking confirmation throughout the entire special that protecting adrien from the truth was the morally correct decision. adrien was obviously affected by his father’s death (contrasting the idea that he just “threw a party” without any emotional backlash), and will undoubtedly learn to grapple with his conflicting feelings on gabriel’s character throughout s6 (he sacrificed himself??? but he abused me??? but he saved ladybug and nathalie????? but he apparently assisted monarch?????)

POINT IS

no one is meant to be satisfied with the way things are in the miraculous universe at the moment. you aren’t supposed to want the truth about what really went down during recreation to stay hidden. if you feel uncomfortable with the current situation our main characters are in, GOOD! please stop the discrediting the writers, because your discomfort means they have done their job well.

[deoidesign]

Thinking about vampires, death, life, and the space they occupy in between

[dalishious]

So this foreboding thought just occurred to me... What if... Oh no...

EDIT: Folks this is not confirmed it's just a fear I have

[pusangkambing]

Let her run on all fours

[sunbloomdew]

the way to the moon is about holding on (to the promise you don't even remember making, to the person you loved, to the life you never got to live but refuse to give up). it's johnny choosing to be with river time and time again, it's johnny holding on to all the paper rabbits river made even if he didn't know their significance, it's river keep trying to remind johnny of their shared past, it's river giving up her treatment so a place that means the world to her is protected, it's eva and neil trying their hardest to send johnny to the moon, it's eva taking the risk in hopes of making it

the way finding paradise is about letting go (of your mistakes, of the unrealistically perfect life you never lived, of the person who helped you through your darkest times but who now keeps you stuck in the past). it's colin letting go of faye despite being afraid, it's colin keep replacing pages in his book with new ones, it's faye knowing that colin never needed sigmund's help, it's faye telling colin he has to let go of her if he wants to live fully, it's neil and eva trusting faye despite what it means for them, it's neil taking the risk in hopes of making it

[knowlesian]

seeing somebody argue that a character making a stupid choice is bad writing simply because they didn’t go for the best course of action always baffles me

like my friend have you ever met a single human being, including yourself???? we are constantly making horrible choices, it’s kind of our thing

[friendly-stardust]

I forgot to mention under the 4th point 'follow the source material and not thematically rewrite the Dance' the following issues in HotD:

No rapist Aegon II: I have been quite frank and vocal about the way the showrunners/writers have butchered his character in this post. The fact that they introduced his adult version to us through this show-invented crying OC was just with the vicious goal to purely annihilate his character while whitewashing Saint Rhaenyra of all her canonical cruelties. Not even Mushroom made him out to be that much of a one-dimensional villain in his salacious version of Aegon II.

No presence of Dyana: That invented OC, introduced to the narrative with the sole purpose of tarnishing Aegon II, shouldn't even be here, left alone having more screen time than canonical characters like Daeron and Maelor who were completely omitted from this godawful adaptation.

No Aegon II being a children fighting enjoyer: Just too much of a ridiculous and completely clownish characterisation. I had to laugh at the ridiculousness of Aegon, the guy flinching when Daemon beheaded Vaemond in open court in front of him, attending child-fighting arenas where they claw at each other with sharp fingernails. Just incredibly nonsensical. What it this? Some D-list characterisation coming from an incompetent writer too much of a simpleton to write real 3 dimensional and complex characters? Just typical of the cartoonishly silly thing a soap opera writer could come up with. They also ensured that this characterisation could be used against Aegon II to blame him for B&C as I explained in this post. Again, the bar is so low in the writing room that they managed to come up with an even worst character than the one Mushroom described in F&B.

No Laenor fake out death: The showrunners/writers changed one of the most confirmed part in F&B - Laenor being stabbed in middle of a market with spectators arounds - to whitewash their favourite girl boss Rhaenyra into oblivion. This is just insulting to Laenor's character in the show. Well, another racist undertone in the writing here - why am I not surprised? Because apparently, once Laenor became mixed-race, his characterisation could easily be sacrificed to elevate Saint Rhaenyra. And he became a coward, a cruel and moronic character who prefers abandoning the children who consider him as their father (stereotypical representation of Black males as absentee and deadbeat fathers) and his parents, who just lost Laena, to go do in Essos something he can already do while living in Westeros. Because honestly, Laenor's homosexuality is already an open secret in Westeros but, as he is part of one of the wealthiest and closest noble family to the royal family, he is above the rules. They also forgot the fact that Laenor has a dragon and completely trampled on the dragon lore in ASOIF universe. Another blunder made by the showrunners/writers which is better explained in this post by @richardsthirdnipple.

No insulting proposal from Rhaenyra to betroth Jace to Helaena: This show-invented proposal from Rhaenyra doesn’t even exist in the source material where Viserys is the one responsible for Aegon II and Helaena betrothal, and where Jace and Luke are betrothed to Baela and Rhaena while they were all toddlers. So effectively, Alicent could have never accepted this proposal because it would have deviated too much from the source material. So why even write it? Well, to better vilify Alicent by making her solely accountable for the escalation of the animosities between both factions, portraying her as a petty, spiteful, and unreasonable woman, while presenting us with a reasonable Rhaenyra willing to offer an olive branch to the bitter Alicent in the name of unity and appeasement. And of course, this travesty is done at the expense of Alicent’s character, while the narrative never tried to address how non-advantageous this insulting proposition is for the Greens or how this could be used against them at any point in the future. I truly cannot express how much I loathe this change and detest the mere mention of this canonically insulting proposal. This is another instance where one can clearly see the showrunners/writers biased narrative and their sleazy ways of portraying Alicent in a really negative way.

No Alicent ordering the fire that destroyed Mysaria's brothel: I have already touched on it in this post where I explained how this will be used as a poor excuse for Mysaria implication in B&C and will ensure that most of the blame is put on Alicent and on the Greens for the murder of a 7 years old Jaehaerys.

If you had the chance to change something about the dance of the dragons (TV show or book), what would it be? For example, how a character dies, which team a house is on,or an entire character personally. How would you change it to make the story better, in your opinion?♥️🖤💙💚

Thanks for the ask anon and sorry that it took me this long to reply. This is a tricky one and this can be long.

House of the Dragon is a complete mess and a mediocrity of a show on every level, except for the acting. The writing is at an abysmal level, and I am convinced that it only got the interest and the rating it got thanks to the fact that it is under GoT's umbrella. And the fact that the showrunners/writers decided to be ungrateful and to insult the very show thanks to which their shitty fanfiction is even relevant, tells me everything I need to know about the arrogance and the ignorance existing behind this travesty of a show. The showrunners/writers seem to have completely misunderstood the themes of The Dance dealing mainly with class stratification, the corruptible nature of power, the consequences of blind ambition, and the pitfalls of unchecked privilege, reducing it all to a dumbed-down and pandering fanfiction in which tokenism, outdated and bigoted caricatures, and banal depiction of sexual assault are used casually as tropes, while pretending to write a 'feminist' or a 'progressive’ show. So, for House of the Dragon, EVERYTHING is to be changed.

Rhaenyra should have never been written as the main protagonist: From Episode one, we already have a failure in our hand with the writing as the showrunners decided to solely use Rhaenyra as our main protagonist in a show that is supposed to depict a severe and ineluctable succession crisis at the top of the Kingdom, resulting in the splintering and in the factionalism of the ruling family. Because, at the heart of this story, this IS the main thematic of the Dance - the civil war that will be tearing the ruling family at the head of the Realm apart and, consequently, the Realm itself apart (except for Dorne which was not yet part of the Seven Kingdom). We should have had different POVs to illustrate the deep divide that have been festering within the Targaryen clan itself and POVs from some of the closest families around them helping them rule. So, if it was me writing this, the POVs would have been: • Alicent - for the Hightowers POV, to see things through her lends and because of the important role she will have as a Queen in the future and as the head of one of the factions. • Rhaenyra - She will be the heir, one of the main claimants to the throne, and the head of the other main faction. • Daemon - self-explanatory. Playing his own partition/having his own ambition and need to be in power. • Corlys - to have a POV for the Velaryons and to highlight their side of the story and their narrative as a clan close to power. I would have made the Velaryons more politically savvy and Corlys primarily working with the sole perspective of preserving and consolidating the Velaryons' place of power/closeness to the Throne. As a whole, the Velaryons and Corlys' allegiance will clearly and only be for the Velaryon's name and clan. I would also use that POV to illustrate the Velaryons tinge of resentment towards Viserys and towards the dismissive way House Targaryen have treated them since Aemon's death. • Criston - POV of a lower-class man of Dornish descent getting into the heart of power and having to navigates its difficulties with his set of believes and morals, and how being in the middle of all this impacts his decisions and his ambition for the ascension of House Cole to a more prominent social status.

Using Season 1 as a set-up Season and not rush with catastrophic and mismanaged times skips: Season one should have really been a set-up season, taking the time to really put the foundations into place, while having enough belief in the story to give it the time needed to develop naturally. I believe that it is important to pose the base that the fracture in the clan Targaryen and with the Velaryons have been created since Aemon Targaryen's death which, according to me, is truly the start of this whole succession crisis. The Dance is just the poorly managed resultant of the whole process, seeping through several generations of resentment and hatred for one another. This will also completely negate all the stupid arguments I have seen online of 'if Viserys had married Laena, all this will not have happened'. This is because the show writers have failed the only-show fans who have no clues that the Velaryons have already threatened war during the whole Rhaenys vs Viserys ordeal. It would also emphasise the reason why it was important for Viserys to not shun the Velaryons and to keep a close alliance with them and would explain the reason why Vaemond became that adamant and not too keen on letting Rhaenyra's bastard usurp their ancestral throne. If only the Velaryons were taken seriously by the writers and not solely used as tokens and brownie points to prop-up Saint Rhaenyra?

Being aware of tokenism, bigotry and of anachronistic representations: This show seems to have been written by people who appear completely oblivious to how careful they should have been with how to manage negative stereotypes.

Avoiding Tokenism: From a standpoint of a Black woman like myself, the way the Velaryons were written was quite insulting. The showrunners/writers seem completely oblivious to how bad it looked to have the only House cast as Black being completely subservient, usurped and abused by their white-coded Targaryen counterparts, with no protest from most of them. The only one of them who protested – Vaemond - was villainised by the narrative and was made to say a misogynistic slur to justify his murder in open court. Murder which has no further consequence in the narrative. These showrunners/writers seem to not understand the racial implications that this casting choice creates in this world and seem completely ignorant to how to organically integrate that change into the narration and how to prevent stereotyping those race-swapped characters, so to not reduce the Velaryons to mere tokens. As a result, the writing made the Velaryons act like complete idiots devoid of any sense of pragmatism, strategic mindset, or political intellect, in a world that literally demands those characteristics of the people playing the game of throne. And the way Rhaenyra’s relationship to them was written also reeks of racist undertones. Overall, the way the Velaryons were written just demonstrates the ignorance and the shallowness we have behind this show and highlights the fact that the race-swapping was only made for aesthetic purposes and for some veneer of visual racial diversity.

And the best example to illustrate that vile treatments of the Velaryons is the way Laena and her daughters were written - not that Laenor or Corlys or Vaemond were spared either - but the treatment inflicted onto those female characters, now made WoC, represent better the showrunners/writer’s deep misogynoir, to which I am sure, they are completely oblivious. Laena's role and arc in the source material was completely butchered and diminished, by rewriting and reducing a feminine, beloved and desired (in her marriage to Daemon) woman - seduced and brazenly wanted by Daemon as his wife in F&B - into some teenager seducing the grown man Daemon, all while he only had eyes for the White girl Rhaenyra, actively feeding into the stereotypes about girls of colour growing up faster, having to be needy and desperate for men attention, and having to seek out male attention to be noticed. I mean, as if Laena was not beautiful enough for a man to notice her without her having to throw herself at him? But it doesn't stop there. They managed to erase her relationship with Rhaenyra, reducing it all to some repulsive scenario of pitting two women against each other for a man, the complete opposite of what happened in the source material, in addition of making Laena the ‘other woman’, the lesser desired one, and the unwanted wife, in her relationship with Daemon. And let not forget the trauma-porn inflicted on her WoC body in that violent and traumatic death, which is a complete bastardisation of an invented only-show concept of “a woman dying a dragon rider death” - whatever that means. Apparently, once Laena became mixed-race in the show, she became some thirsty, miserable, completely isolated woman, willing to go along with only being good enough as a second choice to her white husband, and dies violently by suicide instead of the beloved and cherished woman full of strength and humanity we have in her white woman depiction from F&B. The same abhorrent treatment was inflicted onto Baela and Rhaena, both written as some wallpapers and empty headed mute dolls with no layered personalities and no real wants of their owns, just willing to go along with anything, even to their own detriment (this includes Rhaenyra’s bastards sons taking precedent over them for Driftmark), as long as it favors and bolsters the causes and the ambition of Rhaenyra - the woman their father married just few weeks after their mother's funeral.

Avoiding Bigoted depictions:

a) Some of the tokenism arguments can also be applied to the showrunners/writers’ decision to depict Ser Criston Cole as a brown man of Dornish descent, which already comes with its own in-world racial undertones, while being very hell-bent on portraying his character as an emotional, thuggish, and resentment-driven character, who got his positions as hand-me-downs from two white women, instead of the intelligent, calculated man, always in control of his emotions, and above all, driven by ambition, and who got to the highest position of knighthood in Westeros by the merits of his own competence, as he was described as in his White-coded version in F&B. This illustrates once more the showrunners/writers’ incapability of understanding the tokenistic nature of their racial representation. Also, maybe unaware, and oblivious to their own bigotry on display in what they were implying here, the showrunners/writers went with the problematic trope of the savage, misogynist, and violent brown man for this character. And the fact that they decided to deliberately frame this brown man as some misogynist and vindictive man, unreasonable and unjustified in his anger towards his sexual predator when he is the victim of sexual assault in that “Rhaenyra’s sexual empowerment” episode, just disgusts me. As if his feelings and the shame he felt from the whole ordeal the next day, as a person, was to be dismissed or worst, mocked. The optics of the showrunners narratively dismissing his trauma while they have decided to change his race in the show, just highlights once more the racist undertone we have in the writing of some of the characters in this show. It also illustrates how out of touch the people behind this show are when it comes to representing power and racial dynamisms in a sensible way.

b) Larys Strong is the first disabled character we see on screen with his clubfoot and someone in the writing room though that it was a great idea to then transform him into some deviant sexual predator who gets off by fetishizing FEET. You cannot make this up! The showrunners/writers also butchered his character by making him the confirmed and sole murderer of his father and brother, when in the books, 3 other characters, Corlys, Viserys and Daemon, were also plausible culprits for that crime - but they are all Team Black so better whitewash them all and put it all on the disabled and only Team Green character that was also under suspicions for this murder. And all to see Alicent’s feet, ladies, and gentlemen! Instead of the enigmatic, calculated, and ambitious character we have depicted in F&B, the showrunners/writers made Larys Strong into some outdated caricature and despicable representation of a disabled character, embodiment of all of the devious and negative traits, by equating being disabled with being devious in morality and mentally. It is just a vile way to represent disabled characters, quite akin to the way they were viewed in medieval times as bearer of bad intentions/evilness, which also confirms the ableism and the hollow activism we have behind the scenes of this show.

Avoiding anachronistic representations:

a) Equating Alicent to a 'Woman for Trump' - a misogynist and reductive slur used within a very 21st century USA political discourse - while portraying a woman supposed to be within a setting mirroring medieval Europe, just shows the lack of culture, and of historical knowledge we have in this writers’ room.

b) Anachronistic girl boss characterisation: Rhaenys is written as a vessel to peddle nonsensical 21st century notions of White feminism, a hollow wannabe and anachronistic girl boss, spouting anachronistic speeches, while the show completely removed any agencies from most female characters, and took strong female characters from the original story and turned them into some victims of situations, none of their own doing of course, who constantly cry and are afraid of making any decisions, all while most of their negative traits are given to the male characters, absolute monsters and responsible for all woes that afflict the female characters. Also, Rhaenyra is whitewashed into some girl boss and some absurd notion of a ‘modern politician’ - modern in which historical period, no one knows – who spouts drivels like ‘when I am queen, I will make a new order’, to brazenly pander to Daenerys’ fanbase, when both women are nothing alike, except for the fact that both are Targaryen women.

4. Follow the source material and not thematically rewrite the Dance:

No Aegon I prophecy or dream. Maintain the Targaryens as the ruthless colonialists they are instead of trying to justify their reason to brutally colonise a whole continent. As a person from the African continent, this is not the kind of rhetoric I would like to see peddle, justifying colonisation in the name of some superior purpose.

No white stag apparition coming to anoint our Saint Disneyesque Girlboss Rhaenyra to rule. This is insulting to the intellect of people who want to see complex storytelling.

Completely rewrite the dreadful Episode 9 and make it as close as possible to the book’s depiction of the Green Council.

No Girlboss moment for Rhaenys, murdering hundreds of peasants and ruining Aegon’s coronation.

Erasing that bullshit about Alicent confusing Viserys last words and make the Green reason to crown Aegon and Helaena based on tradition and precedents, as in F&B, and not based on some feeble concept such as the King’s word. We are not in an Absolute Monarchy here, but the uncultured idiots we have behind this show don’t even know the difference.

Not erasing fat women representation with Rhaenyra and Helaena when you claim to be such ‘feminist’ and ‘inclusive’ show. Where is the inclusion of different female body shapes? Or are they not worthy of representation? Instead, we have one of your showrunners (the incompetent Sara Hess) using fatphobic language to make it seem like it is weird for a woman’s body to evolve after several pregnancies.

Showing women on the Green side (Alicent or Helaena) going through their pregnancies and giving birth.

Not erasing Helaena in her own coronation.

Not infantilising Helaena and making her a side character in some other characters story (Aegon, Jace).

Showing the Green kids with their dragons in Season 1. As it was portrayed in HotD, most casual viewers don’t realise that in real Targaryen fashion, those kids should have their dragons around them in most official displays (side eyeing the whole dragon pit debacle here).

Where is Sunfyre and a clear view of Dreamfyre?

Making Vhagar roar when Aemond eye was slashed.

Making one of the adult correct Baela’s and Rhaena’s wrong assumption that Aemond stole Vhagar. Why did the incompetent showrunners/writers even insinuate that foolishness in the first place without having one of the adults rectify the Dragon lore? We all know that it was to paint Aemond as the villain in this situation.

Making it more evident that Rhaenyra meant torture when she said, ‘sharply questioned’.

Why was Daeron and Maelor absent?

Not making the Dragon/owner bond murkier with that shitty and useless singing session from Daemon in Episode 10, when it is canon that one rider cannot have 2 dragons at the same time to ride. Surely Daemon, as verse into Valyrian lore as they proclaim him to be, should be aware of that. This is just confusing the casual viewers.

Using Mushroom's accounts for both the Greens and the Blacks – if I am using them at all.

Not erasing Mysaria’s miscarriage as it is part of her characterisation.

Not claiming to wanting to make a 50/50 adaptation when BTS the showrunner Ryan Condal is using gobbledygook such as ‘they made Aegon usurps his sister Rhaenyra’s throne’, when, by all Westerosi tradition and precedents, Aegon could not usurp what is already lawfully his as the first-born son of the King.

For the book version of the Dance, I don’t have much to change to be honest:

I would have significantly toned down the Daemon’s fest.

I would have made the Velaryon more neutral or playing both sides, with a strategic splitting of the House to support both sides.

I would have made some of the Houses change team, like for example, making the Royces in the Vale side with the Greens, splitting the allegiances in the Vale, to better illustrate how profoundly divided the whole Realm becomes with the war of succession.

The Redwynes (which I would have made the maternal side of Alicent) and most of the Reach would have sided with the Greens.

I would have betrothed Daeron to one of the other powerful Houses in the Reach.

No Wolf Hour.

No army pulled out of nowhere in the Riverlands after Aemond reduces them to crisp. Instead, some part of the Vale army would make the bulk of it.

Finally, no Jaehaera death. That was just petty and quite stupid writing from GRRM with no logical justification as to why she needed to die. No need for the “most sexy 6 years old” to ever exist in the story.

Jaehaera and Aegon III will have their children, who mostly have no real impact on the Targaryen line anyways, apart from Daena the Defiant who gave birth to House Blackfyre.

[blanks--pace]

I have this really bad habit of recommending Fablehaven to people and then only explaining the weird and awful parts. Like yeah I love a lot of it, but instead of mentioning the parts I like I'm gonna tell u about the main character having a brief crush on her cousin.

[mirokuna-hime]

I honestly think people are jumping the gun with their disappointment over the new story quest in 1.2

The whole purpose of Xianzhou Luofu arc is to set up future events.

The writers tell us this by having Kafka admit to the MC that the whole point of this operation for the stellaron hunters is to have the Xianzhou indepted to the Astral Express crew so that they will aid them in their fight against Nanook the destruction.

Herta Space Station and Jarilo-IV were used to introduce us to the game mechanics and to establish the trio of Dan Heng, March 7th and the Trailblazer with the Space Station also serving as a prologue.

Jarilo-IV however did nothing to develop the overarching main plot of the game. Belobog was it's own self contained arc to ease the player into the game and they are now using the Xianzhou Luofu arc to plant the seeds for future chapters.

People are already calling Blade a wasted character, because his confrontation with Imbibitor Lunae didn't play out like people hoped it would, because they didn't drop his entire backstory in this quest even though it's pretty clear that Blade, Kafka and Silverwolf will be reoccuring antagonists over the course of the story.

The prologue already introduced us to Kafka and Silverwolf, heck Silverwolf even got her own event.

Introducing Blade and his connection to Dan Heng to the player is what I would argue the other focal point of this arc. Every theme this story introduced to us can be connected to Blade (immortality being a sin, what it means to be mara struck, manipulation, the weight of our past actions and how we deal with them etc.), it's so that we can understand his story and motive.

Not to mention that it opens the door for character development and development of Dan Hengs and his relationship. Right now Dan Heng doesn't make the connection that Blade is his previous incarnations "friend" (in quotation marks because hoyoverse is being sussy with them) and he's still running away from the past. Meanwhile Blade is consumed by his vengence, his desire to die and he is also getting manipulated by Kafka (admittedly she kinda has to because of the Mara but that barely changes anything other than making us see her in a bit more positive light).

All points that will need to be adressed in following installments and I have faith in the Honkai writers to do these plot points justice, but it won't be right now.

We are in 1.2 my friends, let the story take it's time.

[rrredgi]

This didn't even take forever yay!! Reference sheet for Arja (pronounced as ['aria] with a shorter i)

[actually-factually-anonymous]

The unnecessary lack of personal stakes of Marinette Dupain-Cheng in the Agreste Arc

Inspired by a recent post by @starguardianniom, with half pinched again from my own reblog:

Marinette has zero personal stakes in the main conflict of her show, except that she happened to be the first girl who helped Fu across the road, and was thus chosen to wear the earrings. She doesn't even really seem to have any reason to be Ladybug aside from the basic "I can't sit back and do nothing" she stated in Origins. So a sense of responsibility conferred by being the bearer of the earrings, and an ostensible general desire to do good.

This would be fine, except that Adrien very much did have a reason to continue being Chat Noir. Plagg's Miraculous is the source of his freedom, and a new identity of his own making separate from the carefully curated child of Gabriel Agreste. Most importantly he had so much personal connection to the core plot that his narrative potential dwarfed Marinette's beyond compare.

His mere existence is the very axis of the plot, putting it in motion by the apparent desire for a designer child seeming being the very reason Gabriel and Emile sought the Miraculous all those years ago, and the consequences of his creation being the very reason that Gabriel devolves into magical terrorism. Hawkmoth being his father whom Adrien clearly cares for and whose goal of restoring his much mourned mother setup a truly impressive case for split loyalties for when Adrien (seemingly) inevitably learnt of his father's identity and true goal:

I made a comparison before between Avatar and Miraculous where Avatar won without question. Allow me to balance the scales here: the setup for Adrien potentially turning on Ladybug, or having to sacrifice his familial bonds for the sake of justice outweighed Zuko's own setup for choosing his ''honour"/loyalty to his family over his burgeoning sense of justice.

In potential at least. Rest assured that Zuko's character arc still far eclipses anything Adrien was ever allowed.

But the point I'm trying to make here is that in the very story that bears her name, Ladybug's only reason to be involved comes from the fact that she happens to have Tikki's Miraculous. She has no personal investment in the fate of Hawkmoth than other citizen of Paris, she certainly has no conflicting loyalties.

She doesn't even have a personal reason to continue being Ladybug. You can draw a parallel if you like with one of her ostensible inspirations Peter Parker, who learnt the price of personal inaction in a harsh and unforgiving manner that selflessly drives him to protect others. You can say that the Stoneheart incident fulfills a similar role.

But here's the thing: Peter Parker is Spiderman thanks to his radioactive blood. Ladybug is whoever wears Tikki's Miraculous. If Peter retires, he takes his powers away from the protection of New York. If Marinette gives up her Miraculous, a new Ladybug will arise in her place within a day. There's no need for her to be Ladybug, to take on that responsibility, and until the season three finale there's no personal stake for her to be the girl under the mask any more than any other Parisian citizen.

And that means that Marinette isn't the heart of her own story. In Avatar, it's Aang's quest to defeat the Fire Lord because it has to be him that restores balance. In Star Wars, it's Luke whose connection with Vader that has to restore Anakin's better nature. In just about any series there is a pressing need and personal stakes for the protagonist to be that The Protagonist of that story, that make that story their story.

But the setup here has all the pathos and personal stakes placed upon Adrien. Marinette is the centerpiece of the show, but Adrien's handed all of the narrative potential even as the writers let it go to waste.

It's like preparing a finely seasoned meal, then leaving it to rot as you serve plain vegetables. There's just no reason to have the vegetables when the fine meal is ready for consumption: and if that's a problem? If the plain vegetables were always meant to be the centrepiece? Then you should have seasoned the vegetables and made something delectable with them.

Because the saddest apart about Marinette having or actual ties or pathos to the Agreste Arc is that once upon a time that was not the case.

In previous Miraculous proposals, before the PV, Marinette Cheng was at least as part of the main story as Felix/Adrien was. There were various versions of how the story would go, with one echoing Cardcaptor's plot, and the later proposals looking more like what we got in the final product.

But all had Marinette having a personal stake in the story. In the Cardcaptor-esque plot, Marinette was Fu's granddaughter (or granddaughter figure), and Fu was the caretaker of the The Orb. A crystal that contained all the "fairies" (beings that served both the roles Kwamis and Akumas would later take). The story kicked off because Marinette brought her crush Felix into her Grandfather's store and accidentally broke The Orb, shattering it and allowing the Fairies to escape across Paris and empower countless people- heroes and villains both.

It was her mission to retrieve the Fairies, because she was the one who had released them. She was Fu's granddaughter and it was her responsibility to clean up her mess. It was her story, and Felix/Adrien was the one with less direct connection.

Later proposals ditched The Orb as the Kwamis were developed, but up until the most recent and final versions of the story Marinette retained Fu as either her blood Grandfather outright or at least a mentor so close from her childhood that she thought of him as a Grandfather. She also was usually being trained to be a Guardian or something like it herself from childhood.

She wasn't just a girl Fu found on the side of the road. She had as much connection to the Guardians and their world as Felix/Adrien did to Papillion. It even added a certain Montague-Capulet tragic element to the romance, since if Felix/Adrien and Marinette ever got together it would mean one having to choose between their partner and their family.

But for some reason, in the final product Marinette was stripped of all pre-series personal connections to the Miraculous.

The question is why? Was there really so great a need for Martinette to be "a girl like any other" that all of the plot relevance needed to be stripped out of her and added to Adrien, only to then completely ignore all that potential pathos by sidelining Adrien at every turn?

Because if you weren't going to do anything with Adrien, then all you've done is needlessly undermine Marinette's potential as a character.

Seriously, if you had given me the backstory of these two characters and asked which one was the main character: there would have been no chance I would have selected Marinette. Because all the writers have given her backstory is side-character material, whereas Adrien's very existence, as well as his relationship to his family and the Miraculous is at the heart of the story.

And I doubt there would be many others who would think otherwise.

[lale-txt]

"kill them with kindness" wrong. fuck their dad and their grandpa. actually fuck their whole family tree

[sunnynwanda]

The Game: Part 2

Part 1

Warning: manipulation, cat-and-mouse vibe, electricity used for restraining (I have no idea how to phrase this). Let me know if I've missed anything.

It's been 72 hours since Villain's capture, and Hero was on the verge of insanity. The sudden loud fits of laughter at any time of day and night and, as a result, the lack of sleep were getting the best of them. Besides, their mind was buzzing - they were curious about why Villain had made no attempts to escape yet.

Villain looked ecstatic in the most twisted way possible. Hero could not, for the life of them, figure out why. They were locked up in a cell with thick bars that they could never bend. Even if they were strong enough to do that, the electric current would leave them paralysed for a significant amount of time and would alert Hero. They had no reason to be this smug and satisfied.

"For the love of god, shut the fuck up!" They slam their fist against the wall right outside the cell, exasperation colouring their voice delightfully. "For once in your life, stay quiet!"

Villain's grin is so broad Hero expects their goddamn face to crack open. It's the fourth visit that Hero has paid them this afternoon, after a long sleepless night and even longer morning. "Aw, you love my laugh, baby!"

"I fucking hate you," Hero retorts, eyes blazing. They can test the bitterness of the lie on their tongue. "And your cackling laugh."

No, they don't. They don't hate Villain. Not in the slightest. They do hate how insufferable they can get, though.

Villain snorts, shaking their head. They take a step forward, and Hero's expression twitches for a moment. Villain's tone is cocky, almost mocking. "You love this."

You love the game.

"Stop. You better stop." Hero's warning flies right over Villain's head as they step up close to the bars, wrapping one hand around one and allowing electricity to course through their body. The hair on their arms stands, their fingertips buzzing with excitement when their hand reaches through the bars, ghosting down Hero's chest.

"Y-you're absolutely deranged," Hero's voice is quieter now, their concern evident in their furrowed brow as they glance at the hand travelling down the front of their body. "But, you're not a mad scientist."

"Oh?" Villain tilts their head to the side, smirking as they await Hero's explanation. Their long fingers reach Hero's belt, hooking into it to drag Hero closer with a sickening smile. They lick their lips, the action seeming to capture Hero's attention.

Hero's throat is drier than the dessert. They inhale deeply through the nose, their lips remaining sealed shut.

"What am I then? Mmm?" Villain moans out, eyes rolling into the back of their head as they slide their hand around Hero's waist, fingers digging into their flesh before gripping their belt again.

"You're just mad," Hero snarls, entirely done with their bullshit. Whatever this act is, it's still an act, and they will be damned if they fall for it. They push Villain's hand off them, feeling its shameful absence almost instantly as they back away. "Without the science part."

"Wanna bet?" Villain muses, their voice dripping with honey. It's unsettling and eerie - it sends a shiver down Hero's spine despite the bars separating them from their nemesis. They step back, winking at Hero before trailing towards their bed.

Hero shakes their head with a sigh as they retreat into the office, trying to ignore the lingering memory of Villain's hand on them.

Villain chuckles, twirling the tiny key between their fingers as they lay on their ascetic bed. They cannot wait for the night to arrive.

It's pitch black in the corridor, with no light penetrating the tiny window under the ceiling. Villain takes a deep breath to contain their excitement as they sneak along, their back pressed to the wall. They can't make out anything in the total darkness, instead counting their steps. Once they get to the general area, they use their sensitive palms to detect the change from stone to glass. Villain feels for the keyhole and, upon locating it, pulls out the key they stole from Hero's belt. They glide in and start searching for a switch when the lights flash on, illuminating the entire laboratory and Hero, sitting on one of the tables with their hands crossed over their chest.

"Holy s-" Villain jumps, clutching their chest with an exaggerated gasp, earning a chuckle from Hero.

"Hello," they smirk, satisfied with the effect. Villain's alarmed look brings more pleasure than they expected. "Did you think I'm that stupid?"

Villain quirks an eyebrow at them, tempted to say yes solely for the noble purpose of annoying Hero into oblivion. They shake their head with a wide grin. "No, you're worse."

Hero huffs, sliding off the table and taking a - hopefully - intimidating step towards Villain. "You think I didn't figure you wanted to get me worn out? So I would lose focus and miss you stealing the key?"

"Well, why did you let me take it then?" Villain counters, their expression becoming unreadable. They can't deny Hero is smart enough to understand they would not remain in the cell for that long had they not had a secret agenda. And an agenda they have. They need that goddamn device.

"Wanted to see what it was that you so desperately wanted," Hero explains, maintaining a calm demeanour.

"Apart from you?" Villain fails to keep the words from rolling off their lips. Hero appears unamused, so they sigh, raising their hands to indicate surrender. "Okay, fine. I want that little thing over there. So, let me take it, and I'll be out of your hair."

Hero follows the direction they are pointing in, and their jaw all but drops. "OD-8? As in, the deadly nerve gas with unknown effects? Are you insane?"

"I thought we had established that..." Villain trails off in an attempt to seem nonchalant. "But I really want it! An-and I can promise not to use it on you?" They plead, going so far as to muster up a puppy-eyed look.

"Do you think I'm a complete idiot?" Hero snorts, unimpressed by both the promise and begging. "No way in hell."

"But-" Villain looks nothing short of a kid deprived of their favourite candy. Hero would laugh if they didn't know better.

"No buts. And no way you're getting it." They cut, their voice devoid of emotion. Villain's face falls, causing Hero to sigh. They rub their eyebrow for a moment, thinking. "Fine. You can take one can of paralytic. That's the only thing I can offer you."

Villain's eyes light up immediately. Hero chuckles, handing Villain the promised can and ushering them out of the lab. They take the key back and make sure to lock the door before turning to face their nemesis.

"Now, get out of here before I change my mind," Villain darts up the stairs with a jump in their steps, and Hero starts to doubt their decision. They knew succumbing was not the best bet, but their dimwitted genius needed something to play with, and they felt safer choosing what to give them.

A part of them suspects that was what Villain had initially wanted and that they are going to end up paralysed and kidnapped in the upcoming days in retaliation for the arrest. But, as long as they get a good night's rest and Villain's stupid cute laugh, they don't mind it all that much.

And the game goes on.

Part 1

A/N: I seem to have a problem with the tags for some reason... If I fail to tag you in this, I'm sorry 🙏 If you happen to read this, let me know what you think. Thank you!

Love you 💛

xo Sunny ☀️

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